“Race records” and “hillbilly music”: institutional origins of racial categories in the American commercial recording industry

Roy, William G.

doi:10.1016/j.poetic.2004.06.001

Cited by 58 publications

(46 citation statements)

References 20 publications

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“…Rather than focus on all available genres, large music firms have historically mined relatively few -taking a "mainstream" approach that emphasizes well-known conventions and established musicians rather than the cutting edge developments of unheralded musicians. One notable example, for instance, occurred in the mid-1900s, when major recording and radio firms championed "pop" music (e.g., Perry Como) while rock, country, and R&B percolated on the periphery (Dowd 2003, Phillips & Owens 2004, Roy 2004. Some suggest that such a conservative approach then (and now) stems from managerial preferences for predictability and from formalization that can make large organizations sluggish (Ahlkvist & Faulkner 2000;Negus 1999, Rossmann 2004.…”

Section: Genre As Collective Enactmentmentioning

confidence: 99%

What Is Sociological about Music?

2010

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The sociology of music has become a vibrant field of study in recent decades. While its proponents are well aware of this field"s contributions and relevance, we focus here on demonstrating its merit to the broader sociological community. We do so by addressing the following questions: What is music, sociologically speaking? How do individuals and groups use music? How is the collective production of music made possible? How does music relate to broader social distinctions, especially class, race, and gender? Answering these questions reveals that music provides an important and engaging purchase on topics that are of great concern to sociologists of all stripestopics that range from the micro-foundations of interaction to the macro-level dynamics of inequality.

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Section: Genre As Collective Enactmentmentioning

confidence: 99%

What Is Sociological about Music?

2010

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“…Work by Roy (2004), Dowd (2003), and Lopes (2000) has shown how racial boundaries were not "natural divisions" within the field of popular music but historically at Univ. of Tasmania Library on June 13, 2015 abs.sagepub.com Downloaded from contingent products of historically situated social actors.…”

Section: Social Logic Of Race In Comparative Perspectivementioning

confidence: 99%

Classifying Popular Music in the United States and the Netherlands

Venrooij

2011

American Behavioral Scientist

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This article focuses on the classification of popular music by newspaper critics in the United States and the Netherlands. By using the "mentions technique" of Rosengren, the author investigates cross-national differences in the use of commercial, aesthetic, and racial logics in the classification of popular music artists, relating them to fieldlevel and macrostructural differences between the United States and the Netherlands. U.S. reviewers are found to mention commercially successful artists more often than their Dutch counterparts. Racial boundaries appear to be strong in both countries.

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“…The social class hypotheses, however, miss the complexity with which cultural tastes also map on to racial divisions (or vice versa) in the United States. Music content, for example, can express racially distinctive experiences (e.g., Rose 1994; Neal 1999); it may connote or reflect socially constructed, “authentic” racial codes (Grazian 2003; Peterson 1997); or different genres may even be produced to be marketed to different racial groups (Roy 2004). Further, the origin of “high‐status” art forms stems from efforts among racial/class elites to insulate them from access by lower social classes and immigrant minorities (DiMaggio 1982).…”

Section: Arts Participationmentioning

confidence: 99%

“White Night”: Gentrification, Racial Exclusion, and Perceptions and Participation in the Arts

Shaw

Sullivan

2011

City & Community

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Art festivals are a feature of many urban districts undergoing gentrification; they help to catalyze change by drawing a set of consumers with particular cultural interests. This article examines whether the arts produce racial exclusions by examining long‐term Black and White residents’ participation in and perceptions of the monthly Last Thursday Art Walks in Portland's gentrifying Alberta Arts District. We use surveys to measure arts participation and follow‐up, in‐depth interviews to understand whether long‐time residents feel excluded by the arts, and if race is a factor. We find that Black residents participate less in Last Thursdays than White residents, and they often feel uncomfortable or unwelcome. We conclude that the arts‐anchored symbolic economy results in racial exclusions that have little to do with differences in arts appreciation, but much to do with perceptions of people associated with the arts, and with residents’ abilities to use the arts to identify with neighborhood changes.

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“Race records” and “hillbilly music”: institutional origins of racial categories in the American commercial recording industry

Cited by 58 publications

References 20 publications

What Is Sociological about Music?

What Is Sociological about Music?

Classifying Popular Music in the United States and the Netherlands

“White Night”: Gentrification, Racial Exclusion, and Perceptions and Participation in the Arts

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